Rising Parisian producer Yakine took a circuitous route to his current terminus in the world of techno and house, first unleashing his musical passions as a guitarist in a metal band before his love of hip-hop steered him in the direction of the dancefloor. Eventually introduced to the sounds of underground house and techno through his older brother, Yakine has since released a string of four-on-the-floor-driven singles and EPs on various European labels dating back to 2009. Next week, Yakine will be dropping his first EP for Ghostly sister label Spectral Sound, a four-song effort called Rise. The title track features the vocal stylings of Canadian DJ/producer James Teej, who interrogates listeners with a series of questions—such as “Do you wanna stay?” and “Are you going to enjoy the situation?”—before demanding, “I need an answer quick.” The artwork and tracklist for Yakine’s Rise EP, which comes out on May 22, can be found after the jump.
01. Rise (feat. James Teej) 02. For Motion 03. Except 04. Disaster Drop
For any self-respecting audiophile, finding a winning pair of headphones that suits each and every one of your needs to a tee feels next to impossible. You want high-quality, honest sound in the form of balanced drivers, a wide frequency range, and strong impedance to power your time spent both in the studio and on the street. Sony’s new MDR-V55 DJ Headphones offer a variety of interesting takes on the traditional swivel earcup DJ model, bringing in features that cherry pick from both the worlds of the four-channel mixing maestro and the casual commuter looking for attractive design and solid sound.
While the color scheme of black and red (also available in a variety of colors), the brushed exterior, and the brightly hued cord mark the MDR-V55s as near-clones of a certain rapper’s popular line of premium-priced cans (you know the one), it’s the superb sound that Sony seems to have honed in on as a key factor in distancing themselves from other, more frivolous competitors. Boasting 40mm neodymium drivers and a frequency range that dips all the way down to 5Hz (can humans even hear subs that low?), these headphones were built for critical sound geeks who complain about the distortion caused from 45Hz of bass rubbing the mid-range the wrong way. In other words, these are some seriously balanced, extremely honest on-ear headphones that can serve for mixdowns, mixtapes, and everything else in between. Volume is not a problem either; the MDR-V55s feature a 1,000mw input capacity that’s perfect for use with professional mixers, with no noticeable drop in loudness whenever you plug in to your smartphone.
In terms of comfort, the MDR-V55s fare well enough, but in the end, any pair of on-ear headphones has the tendency to make you pretty hot after a few hours, not to mention some slight pain on the outer ear. They’re highly adjustable however, and rugged in a way many DJ-style headphones can only aspire to; these are not a flimsy set of plain ol’ plastic-and-foam cans. The cord is also of a different mold, assuming a straight, flat shape (as opposed to a coil) with not very much length. This lack of cord length is ideal for everyday listening and being on the go, but leaves a little to be desired in terms of reaching for your stack of wax across the booth while trying to mix in the next record quickly.
Tom Jenkinson, the man behind the roughly 17-year-old Squarepusher guise, is something of a jack of all trades. His musical output runs the full gamut of electronic sounds, touching on IDM, jazz, acid, ambient, breakbeat, and beyond, though it was all born of a distinct love for jungle and drum & bass. It’s a love he returned to time and time again throughout the late ’90s and early 2000s, but inexplicably abandoned for his other obsession, the bass guitar. On Ufabulum, his brand-new album for Warp, Jenkinson makes a long-awaited return to the realm of hyperreal electronic music, and brings a bit of those classic UK hardcore sounds with him.
As such, we thought now would be an opportune time to have Squarepusher indulge us with a few choice selections from his veritable wellspring of knowledge of drum & bass’ salad days. We expect you’ll enjoy navigating these five examples of how to perfectly utilize the Amen break as much as we did, so we’ll just let Jenkinson take it from here.
The hardcore, jungle, and drum & bass which stretched from one end of the ’90s to the other has had so much impact on my work that I pretty much owe my career to it. I don’t do lists of “favorites,” so these are simply the first five d&b tracks that spring to mind.
Ed Rush “The Force Is Electric (Remix)”
I didn’t know this track at the time of its release on No U-Turn in 1995, but it’s no less important to me for that. In 1998, I bought it as a random purchase from Adrian’s, a record shop in Wickford, Essex, whilst checking out the d&b that had been forgotten and not sold from the time. I was into Ed Rush’s stuff with Nico, including the album Torque, which contains some seriously skunked-out paranoia and bass. So this track came as a bit of a surprise. It was moody, but not as hammed-up as the later tech-step stuff. The samples of what sounds like an electrical sub-station going into meltdown hooked me in. Then the Amen [break] enters with some pitch mod, a nice touch. But then the drop, with the time-stretched vocal, knocked me off my feet. It really sounded like Ed Rush was blowing the studio up when he made this one. Loads of compression on the break and a huge sine-wave bassline immediately locked it in as a regular feature of my DJ sets at the time.
Dillinja “Ja Know Ya Big”
This track is printed on my memory from a particular moment in 1995. It was a hot summer, and music was just getting better and better. At that time, I lived in a shared house in Haringey where I wrote much of the material that was to feature on my first releases. It was an amazing time. Going out to clubs, buying tunes at Black Market Records on Saturdays, pirate radio all night, and loads of parties. At the last party we had before we left, I remember being in quite a novel state of mind, sitting at the top of stairs listening to whoever was DJing downstairs. Then this track started echoing up the stairwell, and I was blown away. It was a tough-sounding production, but the fluidity of the Amen [break] was stylish beyond anything I’d heard, even outstripping his own “You Don’t Know (The Remix).” At the time, I was mainly into trying to make music completely lose its cool and go insane, whereas Dillinja had a way of making his tracks sound hard as fuck without ever losing their cool.
Bizzy B & Equinox “7 Minutes of Maddness”
I remember popping into the local specialist record shop in Chelmsford one day in summer 1994. I asked the guy behind the counter what he had in that was absolutely mental. I was on a search for the most out-of-control jungle I could find. I was hearing it in my head, but in those days, I didn’t have the dosh to get myself a sampler, which made doing anything with breaks impossible. He said, “This is pretty mental. In fact, it’s too mental. I don’t really like it. It’s a mess.” I knew “Darkness” by Bizzy B & D. Lux, but wasn’t massively into it. Nonetheless, I was intrigued. I listened to 30 seconds in the shop and the rest is history. I always loved this track for its fearlessness. It is almost the inverse of Dillinja’s ‘cool’ sound, but I love both ends of the spectrum. It’s a lot of ideas in one track, moving from one to the next rather than using a more traditional intro-breakdown-drop-etc. structure.
Remarc “For Real (Remix)”
This piece, as far as I know, was only issued on the Kemet/3rd Party compilation album entitled Champion Jungle Sound. I originally bought the record for the track “Vibe Out,” which I’d recently recorded off a local pirate. I took the cassette into Vinyl Rhythms in Chelmsford, the track was identified, and I strode home itching to blast it to the rafters. However, when I checked out the rest of the record, “Vibe Out” took a back seat for this track. The detuned vocal in combination with the super-compact Amen rinsing sounded decidedly more tripped out to me, and become my fave cut on this record.
Plug “Military Jazz”
Drum & bass snobs might object to the inclusion of this track, and I’ve always enjoyed winding up snobs, so here it is. I will always remember hearing this track for the first time. Some friends and I were listening to Kiss FM, driving up to London to go out. This track came on and, amongst the road noise and chatter, I heard what I thought was some sort of hip-hop track being played by a band. As the track progressed, I became more intrigued, as it sounded like they were trying to play as if it had been programmed. Then the Amen [break] came in, and I was floored; it sounded like a drummer playing breakbeats, and made me totally rethink my ideas of programming breaks. It became an absolute staple at the parties of summer 1995. In fact, it seemed to follow me around. It was everywhere that year!
Ted Krisko and Eric Ricker are two former party promoters who have now dedicated themselves to running the long-standing Detroit dance imprint D Records and producing house and techno jams under the moniker Ataxia. Ahead of the city’s annual Movement Electronic Music Festival on Memorial Day weekend, Krisko has curated the Movement 2012 compilation, which features 18 tracks from an array of Motor City producers, including this tune, “INRIhab,” from his own two-man project. The song isn’t your typical Detroit affair, instead displaying a deep and grooving bassline and a soulful vocal part. The piano-led track has a distinct Crosstown Rebels vibe to it, which seems appropriate considering Krisko and Ricker once helped produce an edition of the label’s Rebel Rave tour. After the jump, take a look at the tracklisting and artwork for the compilation, which is set for release on May 22, just a few days before the Movement Festival kicks off.
1. Joshua Harrison – Dissipation of Heat 2. Ataxia – INRIhab 3. YOS & Carrera – Gone Deep 4. Brian Kage – Past Echos 5. Noel Jackson – I Gave You Everything 6. Keith Kemp – Cosmic Grooves (Detroit Mix) 7. V.S.O.P. – FTV 8. Eric Sutter – We Keep It Movin 9. And Low – We Dance In Mud Puddles 10.T & A – Herbacide 11. Secrets – Explore My Body 12. Infospace – Super Melt 13. Kevin Reynolds – On A Clear Day 14. Prosthetic Hands – No Turns Unstoned 15. Erika – A Cellular Meltdown 16. Homak – Welcome Back 17. Rob Lloyd – The Gorilla 18. Jaos – In All The Right Ways
How does Mosca do it? Since first appearing on the scene back in 2010 with his monumental debut, the Square One EP, Mosca has managed to maintain an unbelievably consistent level of quality across his output, even while continually exploring largely new factions of the bass-music spectrum with each release. Last year’s “Done Me Wrong” b/w “Bax” single was steeped in classic 2-step and garage, while the Wavey EP offered up four bass-laden techno rollers, and now, with the man’s first EP of the year, Eva Mendes, Mosca has taken his firmest steps into the world of house music.
A venture into this genre isn’t the most surprising of moves—house music seems to be on everyone’s mind lately, as the classic Midwest sound is increasingly being pointed to as a wealth source of inspiration by more and more producers. Still, Mosca manages to make his interpretation entirely his own, keeping his rough and tough production qualities completely intact. The producer’s heavily compressed drums and percussion, his hi-fi, almost-mutant synth sounds, and penchant for utterly monstrous low end are all present on this EP in one form or another. Honestly, the first two tracks of Eva Mendes aren’t that far off from where Mosca’s been before. Both the title track and “Accidentally” groove with a familiar UK shuffle in tandem with a pair of infectiously rolling basslines. It’s what floats above these rhythmic beds that aligns these tunes more closely with their house roots—”Eva Mendes” places floaty, organ-like chords, Detroit-style strings, and even an “It Takes Two”-reminiscent “Yeah!” above its lower-end counterparts, while “Accidentally” relies on a layered, partially abstract vocal contribution from house legend Robert Owens and an anthemic, gliding synth melody to fill out its six-plus-minute run.
“Murderous,” the effort’s closing cut, is perhaps its most unexpected. Whereas the two tracks which precede it are clearly propulsive, full, and constantly pushing, “Murderous” is built methodically and allowed to simmer at a smooth tempo for its entirety. There’s almost a Latin tinge to the proceedings, most notably in the pilings of shakers and hand percussion, but also due to the song’s jumping electric piano chords. It’s still very much club fare, but instead of fitting into line with Mosca’s usual perfectly chiseled blocks of hyper-modern bass music, “Murderous” withdraws a bit, beckoning its listeners in with its complex rhythms and sultry—albeit a touch over the top—vocals (thankfully, the EP also comes with a “Dub” version for those wary of lyrical phrases such as “All I want to do is get into you”). The track makes for an unanticipated closer, but is still impeccably crafted and only furthers the argument for Mosca’s title as one of the most versatile and exciting producers in the scene today.
By current standards, Mosca takes his time preparing each of his releases for the world, but with a virtually flawless discography to his name, no one is about to tell him to speed up the process. On the Eva Mendes EP, Mosca has again put together an effort that balances forward-thinking production, expert sonic craftsmanship, and continued genre exploration into surefire dancefloor heat, further solidifying the fact that every Mosca release is bound to be worth the wait.
London producer Mickey Pearce is set to release a new 12″ single, “Tempted (F+ck Tonto Edit)” b/w “Softly Softly,” next month through Doc Daneeka’s Ten Thousand Yen imprint. Mickey Pearce (a.k.a. Rich Attley) formerly produced under the name Shortstuff, but switched monikers last year, as his sounds began drifting into harder and darker territory. Incidentally, Attley was mentioned earlier this week in our feature on garage producer Brackles, with whom he founded UK imprint Blunted Robots. “Tempted (F+ck Tonto)” b/w “Softly Softly” comes out on June 11.
Before dropping its introductory compilation, Terrain, UK label Raised By Records shares this beat-driven cut by Croydon-based producer Deft, a bonus tune from the second part of the aformentioned release (artwork above). “Jungle Jim” boasts plenty of crisp drum sounds and eclectic percussion elements, but nonetheless remains a fairly understated and smooth production rife with vinyl crackle, deep bass rumbles, and lush synth pads. Look for an early batch of Terrain—featuring another tune by Deft, among original tracks from the likes of Fybe:One, Memotone, and more—to arrive on June 25, with the official release date coming July 23.
Neither Ben Sims or Kirk Degiorgio is what one might call a fresh-faced new artist. Both men are veterans of the UK techno scene, and have spent the past 15-plus years putting their own spins on a style originally created half a world away in Detroit. Many artists in their position are content to rest on their laurels, relying solely on their own catalogs and the litany of classics that undoubtedly reside in their record collections, but last year Sims and Degiorgio made a conscious choice to break with the past. Seeking to move forward, the duo founded Machine, a London-based club night devoted to new music, a party where everything played has been made in the past year or so. Machine quickly found an audience, and has slowly begun to spread across the European continent, which is likely why Sims and Degiorgio have elected to take things a step further and launch their own record label. The simply titled Machine is the young imprint’s first offering, and the EP unsurprisingly finds the two producers operating at a high level.
Rather appropriately, Sims and Degiorgio themselves are the only artists featured on Machine. The EP kicks off with Degiorgio’s “Machine Theme,” a shiny piece of propulsive techno that channels late-’90s/early-’00s Detroit. Even with a punchy kick, the song is a purposefully controlled affair, one full of lush synth swells and gliding melodies. It’s subtle, nuanced, and, most importantly, effective, particularly when Degiorgio temporarily brings in a slightly crunchy bassline about halfway through the proceedings. Where many producers punctuate clubby passages with introspective interludes, Degiorgio lets his dreamy impulses take the lead while crafting a tune that won’t lose the dancefloor. It’s an impressive feat, and one that likely could only be turned in by an experienced hand.
Next up is Sims’ contribution, “Metal Works.” Similarly refined and also utilizing a Detroit-indebted sound palette, it’s nonetheless a more stripped effort than “Machine Theme.” The drums are higher in the mix, and even shuffle a bit as the track swells and evolves over the course of its six-minute runtime. Sims does employ some synths in the production, but primarily in the form of a melodic loop, which ultimately functions as just another rhythmic element while the percussion patterns continually morph and change. Make no mistake, “Metal Works” has some real punch in its low end, but it’s still a heady, thoughtful number.
The drums get even more prominent on the EP’s final cut, a remix of Degiorgio’s “Machine Theme” by—who else?—Ben Sims. Buoyed by a thunderous drum pattern, Sims reaches a little further back into history and brings in a melody line that hints at early-’90s, hands-in-the-air anthems. Granted, it ultimately never reaches that level of ostentation, as Sims keeps things far too cool to slip into nostalgic worship. Nevertheless, it’s the clubbiest offering on Machine, and the kind of tasteful cut that discerning partygoers undoubtedly are treated to when Sims and Degiorgio step behind the decks.
Influential techno artist Moritz von Oswald and his troupe of musicians, which includes Sasu Ripatti (a.k.a. Vladislav Delay) and Max Loderbauer, are set to release a new LP on Honest Jon’s, the label home of the group’s discography thus far. The album is titled Fetch, and will be the group’s third full-length effort, following last year’s Horizontal Structures. Along with the trio’s core members, the album also features contributions from Tobias Freund, Jonas Schoen, and bassist Marc Muellbauer. For the uninitiated, von Oswald initially rose to prominence pioneering the minimal techno sound as a member of Maurizio and Basic Channel with Hard Wax owner Mark Ernestus. Fetch is set for a June 18 release, but its tracklisting—which notably discontinues the group’s previous song-titling conventions—can be found now, below. (via Resident Advisor)
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The self-titled, debut EP by Darkside, Nicolas Jaar’s much-ballyhooed side project with guitarist Dave Harrington, has been out for about half a year now, but its lead cut, “A1,” is just now getting the music video treatment. Looking something like a mix between Planet Earth‘s “Deserts” episode, hot new video game Journey, and, like, Lawrence of Arabia, or something, this piece—directed by in-house Clown & Sunset filmmaker Ryan Staake—is a finely crafted visual representation of the expansive soundscapes and brooding riffs offered by Jaar’s and Harrington’s tune.
